Chips 'n' Salsa by The Phil Collins Big Band. Arranged by Harry Kim. For big band. Latin. Medium Difficult. Published by Jazz Lines Publications (JL.PH-3008).
Get into that Latin groove with Harry Kim's alto sax feature big band arrangement - just add a good portion of Latin percussion for a really tasty mix. From the album "A Hot Night in Paris". Key Dm.

Zebrano by Neu. For standard jazz ensemble. Jazz Journey Series. Salsa. Medium. Score and parts. Published by Kendor Music Inc (KN.61995).
Emulating the exciting style of Arturo Sandoval and Paquito D'Rivera, this catchy Latin tune for advancing groups alternates between Afro-Cuban and samba grooves. Chord changes for the open solo section are included for alto, tenor, trumpet and trombone, and a 30-bar drum solo leads to a dynamic, hard-to-forget finish! A guitar chord chart by Jim Greeson is included in each set. Duration 5:00.

Gingerbread Boy (Salsa) arranged by Jennifer Barnes. For jazz choir (SSATB choir with rhythm section). Level 4. Set of 16 octavos with rhythm parts. Published by UNC Jazz Press (NC.VJ2324).
(Level IV) Two charts of different styles and difficulty levels are available on this infectious, wordless Jimmy Heath blues melody. The salsa arrangement is a terrific, accessible vehicle for improvisation as well. The salsa style will challenge the singers with the linear melody and background figures. It also has very moderate range requirements for both men and women. SSATB with rhythm section.

Gingerbread Boy (Salsa) by Jimmy Heath. Arranged by Jennifer Barnes. For jazz choir (SSATB choir with rhythm section). Salsa, Up Tempo, Jazz. Jennifer Barnes Series. Level 4. Set of 16 octavos with rhythm parts. Published by UNC Jazz Press (NC.VJ1247).
(Level 4) Two charts of different styles and difficulty levels are available on this infectious, wordless Jimmy Heath blues melody. The uptempo salsa-flavored chart is both lots of fun and quite challenging, featuring an a cappella soli section with tons of harmonic interest. This one also requires a range from a solid low E-flat for basses to a high B-flat for sopranos. SSATB with rhythm section.

Salsa Cabana by Neal Finn. For jazz ensemble. This edition: Trumpet range to D6. Latin. Level 3. Score and set of parts. Published by UNC Jazz Press (NC.445).
(8-10 Brass) A cha cha that grooves, open for any soloist on a 2 chord montuno. Moderate tempo, with tricky ensemble chorus a cappella. Not exceptionally high, but requires stamina. Good for advanced middle school/high school jazz ensembles.

Salsa Dreams by Mike Bogle. For big band (trombone solo). This edition: Trumpet range to D6. Salsa, Jazz. Level 4. Score and set of parts. Published by UNC Jazz Press (NC.116).
(10 Brass) (Level 4) A salsa-fied big band groove that will have audiences smiling with ears and feet. Includes a trombone solo in the slow introduction that grows into a full ensemble. Trombone continues melody during salsa groove, accompanied by saxophones, trumpet and guitar or vibes (optional). Improvised solo section for trombone and alto saxophone that may be extended if desired.

Pat-a-Pan Salsa - Brass and Percussion Score and Parts by Thomas Fettke. For brass choir, percussion. Sacred. Score and CD (with printable parts). Published by Crystal Sea Music Publishing (LO.765762208407).
You have never heard "Pat-A-Pan" like this! There is no mistaking it, this is Christmas a la salsa style! Multicultural, spirited, fun and entertaining, this is the perfect selection for that spot in your program that needs to be unique and engaging. The words and percussive articulation of this text make it perfectly suited for the salsa dance style of this setting of the popular Burgundian carol. Offering opportunities for solos, choreography, and even a vamped percussion and dance feature, the performance possibilites for this piece are limited only by your imagination and the creative abilities of your choir. The accompaniment track is so authentic, you will believe you are in Miami. This is the one every audience member will leave singing. "Come along now, everyone; listen to the beating drum! Pat-a-pat-a-pan, pat-a-pan!"Core Instrumentation: Trumpet 1, Trumpet 2 & 3, Latin Percussion (6 parts), RhythmAlternate Parts: Flute (addition to Trumpet 1), Te.

Pat-a-Pan Salsa - Brass and Percussion Score and CD with Printable Parts by Thomas Fettke. For brass choir, percussion. Sacred. CD-ROM (with printable parts). Published by Crystal Sea Music Publishing (LO.765762206809).
You have never heard "Pat-A-Pan" like this! There is no mistaking it, this is Christmas a la salsa style! Multicultural, spirited, fun and entertaining, this is the perfect selection for that spot in your program that needs to be unique and engaging. The words and percussive articulation of this text make it perfectly suited for the salsa dance style of this setting of the popular Burgundian carol. Offering opportunities for solos, choreography, and even a vamped percussion and dance feature, the performance possibilites for this piece are limited only by your imagination and the creative abilities of your choir. The accompaniment track is so authentic, you will believe you are in Miami. This is the one every audience member will leave singing. "Come along now, everyone; listen to the beating drum! Pat-a-pat-a-pan, pat-a-pan!"Core Instrumentation: Trumpet 1, Trumpet 2 & 3, Latin Percussion (6 parts), RhythmAlternate Parts: Flute (addition to Trumpet 1), Te.

Echo Salsa by Alain Lopez. Oboe Solo and Piano Accompaniment. For Oboe solo and Piano. Classical, Educational. Grade 3. Score and set of parts. 6 pages (score); 2 pages (parts). Published by FLEX Editions (FL.FX072353).
AABA form of Latin music which gives meaning to the work of opposed nuances. On the pedagogical side, some unusual rhythms at this level are proposed.

Echo Salsa by Alain Lopez. Euphonium Solo and Piano Accompaniment. For Euphonium solo and Piano. Classical, Educational. Grade 3. Score and set of parts. 6 pages (score); 2 pages (parts). Published by FLEX Editions (FL.FX071606-1).
AABA form of Latin music which gives meaning to the work of opposed nuances. On the pedagogical side, some unusual rhythms at this level are proposed.